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John Bowring wrote:

> Simply if you shoot SUPER 16 at 24 FPS you are seeing it with traditional
> NTSC transfer artefacts  Shoot at 30 and there is a definite improvement,
> but shoot and transfer at 60FPS or 50FPS in Europe, and you have an image
> that will jump off the screen at you -  with lower grain and improved
> sharpness.  The dynamic range and depth of film is obviously retained with
> lower filmic and motion artefacts.   The down side is you'll use more film.

Shooting and transferring at higher frame rates gets you closer to a
"look" the higher you go. Personally, I absolutely hate the look of
30FPS film,
and certainly don't consider its "look" an improvement.

> The Spirit telecine in high def., from what I've seen,  goes a long way to
> solving this problem 'upping the ante' on HDTV video origination.  

You know, as a technical person I'm as intrigued as everyone else when
equipment comes along that indicates more advanced technical
capabilities than
were previously available. But it's one thing when these capabilities
exploited via a simple, affordable package, and quite another when the
is as expensive as the Spirit. I have one question as to the
of this grand new HDTV world: Who's gonna pay for all this stuff????????
advertisers? I don't see why, particularly when the audience that can be 
delivered in the new system will be miniscule for many years. The 
studios? I think not. They complain about rates of $320/hr for daily
transfers now. I don't think the $2000/hr or so necessary to supply the
Spirit for this work is in the budget. The networks? No way. The
government? Well, maybe. The 
bottom line is that it's obvious that post production companies will be 
squeezed and squeezed hard if history is any indicator. This is not a
thing for those of us who work in the post production industry. It is
that an industry standard be adopted (at least here in Hollywood) so
equipment costs can be brought under control. The US government has seen
to leave it up to the "marketplace" to decide upon the specifics of a 
production/post production standard. WE ARE the marketplace, and it is
up to
us as an industry to decide what, if anything, we're going to do.

Mike Most, Technical Director, Encore Video, L.A.